What's the Play and Where's the Stage?: A Theatrical Family of the Regency Era by Alan Stockwell (review)

Alan Stockwell's What's the Play and Where's the Stage? provides a remarkably detailed history of the Jonas & Penley Company of Comedians and their descendants who, "dragging themselves up from obscurity, became established as one of the most reputable theatrical families in the provincial Georgian and Regency theatre" (13). Starting in the 1790s, the book traces the fates and fortunes of various Penleys across six chapters (or "Acts") as they travel between country towns and over the sea to Europe, building successful theatres, facing anti-theatrical prejudice, performing before receptive royalty as well as abusive French crowds, making occasional fortunes and spending time in debtors' prison. Outside the core chapters is additional material: a family tree; a "Curtain Call" with brief biographies of the less well-documented Jonas children; and three appendices, comprising a table of known Jonas & Penley Company seasons and lists of the productions presented in 1814 at the German Theatre in Amsterdam and at the theatre du Parc, Brussels.

Stockwell's work contains a considerable degree of historical context and covers the impact of major events upon the theatre industry at both local and national levels. These include the Napoleonic Wars (and their aftermath), the 1788 Theatrical Representations Act and the 1843 Theatres Act, as well as often-overlooked material factors, such as the workings of the pre-1840 postal system and the nature of public and private transportation systems. When combined with concise explanations of common features of nineteenth century theatre (star visits, benefit nights, magic lanterns, marketing ploys, acrobatic feats, etc.), What's the Play does, as promised in the "Overture", successfully "focus . . . on the particular" to "illuminate the general" (2). There will, perhaps, be frustrations for researchers looking to use this volume for their own studies. While the content is entertaining and the writing style engaging, humorous but historically dubious anecdotes are prevalent throughout and, as references are few and far between, it can be difficult to discern fact from the author's inference.

What stands out to the reader, however, is not only the depth of archival research carried out by Stockwell, but also the extent to which he is able to bring his subject alive and establish a clear narrative. Especially valuable are the accounts of performers' movements abroad and the developments of individual careers through the various provincial circuits and Theatres Royal. As longitudinal studies of "country" actors are still comparatively rare, this volume is a useful contribution to academics seeking an overview of the period, as well as to the general reader.